Saturday, May 4, 2013

The Shadow Box

The Edge Theatre Company:
4/19 - 5/19

Paul Page and Brock Benson

Michael Cristofer’s “The Shadow Box” was the Pulitzer Prize and Tony
Award winner for Best Play in 1977. Rick Yaconis has directed a fine production
of Cristofer’s play in the brand new space housing The Edge Theatre Company at
Teller and Colfax.

The matrix for the play is the observation of three terminally ill
people living in cabins on the grounds of a hospital. Joe, Brian and Felicity
are the three patients.

Paul Page is superb as Brian, a gay man who, when visited by his former
wife, attempts to keep up appearances with a smiling mask that’s slowly slipping
to the tragic. Patty Ionoff is brilliant as Paul’s ex-wife, one of the most floridly
annoying characters you may ever encounter in a play. Brava! Brock Benson’s
portrayal of Mark, Brian’s gay lover, is outstanding.His ability to communicate to us as audience the steaming
rage of a man who is being encroached upon by this insufferable woman is
phenomenal. Page and Benson’s acting duet describing their emotional meltdown
is indelible and unforgettable.

Michelle Grimes plays a daughter who is unable to release her mother to
the inevitable. Carol Bloom shines as Grimes’ character’s dying mother who’s
choosing to hang on to life because of lies and cruel hopes about a deceased
daughter’s imminent return.

Marc Stith plays a man who finds it difficult to face his eventuality
and express the truth to his son and wife. Haley Johnson gives us a sensational
characterization of his devastated wife. Paul Escobedo shows great promise in
his portrayal of their son, Stephen.

As the interviewer, Kirk Montgomery provides stunning voice over work as
the detached voice of medical science. Although this omniscient and omnipresent
character is never seen the questions expressed in the methodical observation
of his experiment provide exaggerated contrast to the humanity of these
traumatized patients and their families.

The scenic design by Remigio S. Velez II includes the exterior of a rustic
cabin, as well as a backyard and one cabin’s interior. His set gives this
intimate venue the illusion of having a sprawling stage. It’s phenomenally well
done. However … the size of the set sometimes makes the eye unsure of which way
to travel especially when two areas are illuminated as one scene ends and the
next begins.

This play allows us to feel the anguish of people who are unable to
understand what’s killing them. This was before there was even the prognosis
for what was soon called “Gay cancer,” and which was soon to be known as AIDS.
It’s a compassionate and saddening glance into the rear view mirror across the decades
of death and devastation this epidemic spawned.